Brad Paisley (feat. LL Cool J)
Okay. I give up. I’m going back to bed.
• Brad Paisley: …
• LL Cool J: …
As a head space, words implicate thoughts on to paper and through sound. Sound creates meaning to verb and/or noun, as does the word to interpretation, and hearing is to actually believe in verbal reality. Collage in thought comes as frequent as your clock ticking to the next and the next and the next minute after, and you think it’s real. Nope, not real. Yet whole. But that moment before completely losing thought, when your brain moves blood to one side in order to think on the other, that moment… wounded in stifled thought… “Stanch.” Taping and drawing upon feelings and deeply forgotten memories and shutting them off. Flowing your natural thought and direction to another sensory overload. Is it a bucket or an actual drum? A masterpiece? Or is it tryna turn off your tape recorder on the other side of the most cluttered basement?
Freddy Ruppert has hidden his answers within the confines of his new NNA Tapes album, Hangs a Shadow. The entire release is of the original sort, but it plays out as though you’ve heard half of this release before but are unsure from where. It’s like, “Yo, that’s the clicking a crosswalk makes on Hyatt and Broadway in Tipp City, Ohio at the 3:41 mark of track 6, I swear.” And the memories will make you feel all sorts of emotions. It’s very enlightening and refreshing in a creepy, theoretical way, but it works, and words will be beyond the thoughts that’ve been shut off to you since that sound and the other sound and all them sounds.
Freddy Ruppert’s Hangs a Shadow is out tomorrow, April 9, on NNA Tapes.
The Korg Electribe ESX-1SD Music Production Sampler is a standalone drum machine and sequencer that has nine programmable drum parts, two synth parts, basic filtering and modulation capabilities, and a built-in tube amplification system. The producer/DJ known as Slava — born in Russia, transplanted to Chicago, living in New York — wants us to know that this is the only instrument he uses to make his music. If you’re thinking “I don’t care about how the dude makes it, as long as it sounds good and I can dance to it,” I assure you that Slava makes complex, danceable music — but I don’t share your philosophy. In the context of 2013’s digital omni-accessibility and profuse onstage laptop-ery, I fully dig witnessing Slava handle the Electribe in a live setting — programming loops on the fly, cycling through sequences, turning little gray knobs, and editing waveform parameters in real time. He operates remarkably within his gear’s limitations, cramming his tracks with enough house, footwork, acid techno, and 2-step signifiers to satisfy listeners from all of the cultures he’s dipped into since he set out from his homeland.
Slava’s debut album Raw Solutions drops on April 23 via occasional Electribe user/all-the-time synth sorcerer Dan Lopatin’s own Software label. In the video for first single “Werk,” we get a nice introductory look into Slava’s world: vodka, trippy virtual-reality backdrops, Adidas, silver-haired cyborg dance troupes, and plenty of closeups of both the man and his little red machine.
“Landscapes In The Mist”
OK, okay-okay. Yeah, I’ll bet you write something real creative, right? Something dark, maybe? Transporting my face to C Monster’s face to the face of each face in a field of faces. Oh, clever, yeah. Yes. Nahh. Bring about all the change to one face of my face and the movie Face/Off. I’d be Travolta —err, I’d be Cage as Travolta, but really Cage. Or John Woo. No, neither, that’s fucking racist. Let’s get an image in there; “there” being mind to fingers to word. And it’s an unkempt cowboy staring into a mirror, and his hair gives the impression he is frowning. This is fucking sad, because I love cowboys and this one doesn’t know French from English. Just thick-accented lingo only his mirror and the bottle understands. Oh, shit, and he breaks that bottle for an edge. The sharpest edge. He tests each shard on his open palm. Aww, cowboy, no it’s not worth all this nonsense. With the shard, he begins shaving, using the blood as it loosens his facial hair. His hat lies next to his boots by the toilet. His bare feet bathe in the booze smashed out from the bottle. He licks the blood off his lips.
Cowboy, you’re so important to me, yes? I adore your tragedy. Gain sugar that won’t dissolve. A hound that tries, but can’t, speak English. American flags fly with or without the scars on your face that are being torn back open to the world of wounds. Don’t. Hair and blood mixes with brownish water and spirals into the drain. This was so much funnier without you cowboy — not really. “Y’all lookin’ round funny?” he asks me. And I wonder what it could be at this point. He kneels down in the glass and starts scooping up the last of his booze mixing with blood from his knees and fingers and hands. His face drips and is patchy. Tears sting his torn face and taste like licking a rusted GTO. “Not enough,” he shouts and slams his fists into the puddle (mostly blood now) and glass (more blood now-now). But the booze drowns his system, and he sits with a half cut and crooked smile, puts on them boots, and covers his face with his hat. Maybe I’d be Travolta as Cage as Travolta.
Zoo Music releases Drifters/Love is the Devil double LP May 21.
Gene The Southern Child & Parallel Thought
1. weapons (as bows, slings, and catapults) for discharging missiles
2. large bore crew-served mounted firearms (as guns, howitzers, and rockets)
3. means of impressing, arguing, or persuading
1. an ostentatious effort, display, or expenditure
In light of several recent tragedies (see: crazy white kids mowing down crowds of innocents, with no apparent motive other than batshit insanity), titling an album Artillery Splurgin’ might come across as either a ballsy move or a crass attempt at generating buzz. The fact of the matter is that rapper Gene the Southern Child and producers Parallel Thought had already picked out the name back in July 2012, months before the Sandy Hook Elementary School massacre occurred or subsequently proposed gun control legislation prompted arms enthusiasts to “splurge” on “artillery.”
Hence, the phrase is likely meant to describe shooting anything that moves rather than stockpiling weaponry. Besides, Gene’s lyrics are more directly concerned with the kids of Florence, AL than those of Newtown, CT, so any perceived association with Sandy Hook or similar events is exactly that — perceived. That the artists refused to compromise their vision can and should be commended as a brave defense of the First Amendment, but only briefly because (1) it’s highly unlikely anybody requested that they change the title; (2) they probably couldn’t care less; and (3) all that bullshit gets in the way of enjoying the music for what it is: soulful Southern rap about shooting any fucking thing that moves.
All controversy aside, we at Tiny Mix Tapes are proud to present “Artillery Splurgin’,” the title cut off the upcoming album from Gene the Southern Child & Parallel Thought, which is slated for a May 7 CD/digital release.
…Now try to enjoy it without killing anybody, ya hear?
• Parallel Thought: http://pthought.com
Just to bring our readers up to speed: those who don’t SPIN that frequently, <> T (a.k.a. Diamond Terrifier a.k.a. Sam Hillmer a.k.a. one-third of ZS) popped off his hot new track “Triple Gem” this morning, which is part of a 30-minute “suite” from his new album The Subtle Body Wears a Shadow on Terrible Records. This morning when I arrived to work, I listened to “Triple Gem” and immediately bought the LP. There’s no doubt in my mind that the growing collection of Sam’s solo works have clues to every secret in life. I could never explain so in words, but neither can he (maybe). It all seems like it’s right there in music for listeners to decide. And what a moment it is during every moment in his breathing: stagnant yet baited, both wobbly and searing at its core. Yet if I were to leave out the word “burning,” this post wouldn’t be complete.
Scope <> T’s new LP The Subtle Body Wears a Shadow on Terrible Records immediately for maximum enjoyment of all senses possessed in music.